A remixed version of one of the standouts from the L.A. producer's July LP

Los Angeles-based producer/songwriter Seven Davis Jr. set out to explore other worlds on his June debut, Universes. His own provenance seemed similarly interstellar, like the crew of off-kilter beatmakers that make up Flying Lotus’ Brainfeeder label/collective. So why not get one of those kindred cosmos-exploring spirits to handle a remix for a track from that record?

Mono/Poly, whose soaring 2014 album Golden Skies was unfairly ignored in its own right, turns up to explode the headstrong “Try Me (I’ll Funk You),” included on the deluxe version of the LP, filling the vacuous spaces with searing light and groaning drums. Listen here, alongside the original.

Low End Theory has been raging in Los Angeles since 2006, an enduring event in a notoriously fickle club world.

It’s a weekly party in SoCal that appears quarterly in Japan and occasionally in San Francisco, New York and Europe, introducing revelers to such boundary-pushing electronic artists as Flying Lotus, The Gaslamp Killer and Nobody as well as attracting special guest selectors like Radiohead’s Thom Yorke and Erykah Badu.

As its 10th anniversary approaches, we tapped Low End Theory founder Daddy Kev for 10 classic tracks that define the bass-heavy aesthetic of Low End Theory — some of them might surprise you, but there’s no questioning their uncanny power.

3. Mono/Poly – “The Beatles Bitch” [Faces, 2009]“This was a full-on Low End Theory anthem in the early days.”

LOUD, HEAVY AND MAD BEATS VERSUS AN INCREDIBLY HUMBLE AND A GOOD-HEARTED PERSONALITY, THE CONTRADICTION JUST COULDN’T BE ANY BIGGER. WE HOOKED UP WITH CHARLES DICKERSON, BETTER KNOWN AS MUSICAL ALTER EGO MONO/POLY, AND TALKED ABOUT LUCID DREAMING, FRUITY LOOPS AND GOOD COSMIC SOUP.

If you've ever passed by the funk and jazz-lite dollar bin at the record store, Stephen Bruner kindly asks that you pause to revel in the pastel colors and unfettered joy. The virtuosic bassist and singer comes from a diverse pedigree: a boy band, a stint in Suicidal Tendencies and, more recently, a hired low-end for space-age R&B artists like Erykah Badu and Sa-Ra. But as Thundercat, Bruner digs into astral soul music that's often both funky and heartbreaking — especially on Apocalypse, out June 4.

Co-produced and co-written by producers Flying Lotus and Mono/Poly, Thundercat's follow-up to The Golden Age of the Apocalypse was written after the death of keyboardist, FlyLo bandmate and friend Austin Peralta. It can be, at times, bittersweet, as if attempting to smile and dance the pain away in the gossamer late-night plea "Heartbreaks + Setbacks," the somber yacht-rocker "Without You" and the time-signature-shifting jazz-pop "Tron Song." But then there are tracks that really want to move, like the Herbie Hancock mutant fusion of "Lotus and the Jondy" or your next party-starter, the sweaty and somewhat self-deprecating "Oh Sheit It's X." That one's a team effort — a FlyPolyCat joint, if you will — with Bruner's crooning and playful Off the Wall falsetto on top of ridiculous capital-F Funk handed down from the Mothership.

Thundercat knows how to write genuinely affecting and technically bad-ass songs around his instrument — a rare art, usually given to some serious "bass face." But with Apocalypse, Thundercat has made an emotionally complex record, while still finding time to party.